Making Of The DEF CON Documentary
This is a modal window.
Das Video konnte nicht geladen werden, da entweder ein Server- oder Netzwerkfehler auftrat oder das Format nicht unterstützt wird.
Formale Metadaten
| Titel |
| |
| Serientitel | ||
| Anzahl der Teile | 112 | |
| Autor | ||
| Lizenz | CC-Namensnennung 3.0 Unported: Sie dürfen das Werk bzw. den Inhalt zu jedem legalen Zweck nutzen, verändern und in unveränderter oder veränderter Form vervielfältigen, verbreiten und öffentlich zugänglich machen, sofern Sie den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen. | |
| Identifikatoren | 10.5446/38933 (DOI) | |
| Herausgeber | ||
| Erscheinungsjahr | ||
| Sprache |
Inhaltliche Metadaten
| Fachgebiet | ||
| Genre | ||
| Abstract |
|
DEF CON 2171 / 112
3
6
8
9
13
14
15
16
17
22
23
24
25
29
32
33
36
37
39
42
45
47
49
53
60
61
64
65
66
71
76
79
80
82
89
103
106
108
00:00
BitProjektive EbeneCASE <Informatik>SystemaufrufCoxeter-GruppeComputeranimation
01:41
AppletFinite-Elemente-MethodeIntegriertes InformationssystemMereologieAusnahmebehandlungCoxeter-GruppeEreignishorizontWeb SiteSchlussregelGruppenoperationZahlenbereichMultiplikationsoperatorMailboxEingebettetes SystemNeuroinformatikInformationAbenteuerspielCOMComputeranimation
03:46
HypermediaAbenteuerspielMailboxMomentenproblemDruckverlaufEreignishorizontQuaderBitComputeranimationVorlesung/Konferenz
05:15
HilfesystemMinimalgradAutomatische HandlungsplanungProjektive EbeneProzess <Informatik>Computeranimation
06:37
Digitale PhotographieTabellenkalkulationAutomatische HandlungsplanungMailing-ListeMultiplikationsoperatorOffice-PaketEinsDigitale PhotographieSoftwaretestUnordnungSchnittmengeKugelkappeRechter WinkelComputeranimation
08:37
MultiplikationMultiplikationsoperatorFrequenzInformationEinfach zusammenhängender RaumGruppenoperationSystemaufrufCASE <Informatik>Hinterlegungsverfahren <Kryptologie>Computeranimation
11:20
InformationMailing-ListeEreignishorizontElektronisches ForumEaster egg <Programm>Kontextbezogenes SystemRechter WinkelProgramm/QuellcodeComputeranimation
12:49
Ordnung <Mathematik>Selbst organisierendes SystemTabellenkalkulationMereologieRechenschieberQuick-SortProzess <Informatik>QuaderWeb-SeiteGraphfärbungEreignishorizontGibbs-VerteilungMultiplikationsoperator
15:00
HypermediaExogene VariableVerdeckungsrechnungPunktPolygonnetzWechselsprungSuite <Programmpaket>MinimalgradWort <Informatik>MAPComputeranimation
16:42
MAPMultiplikationsoperatorSchreib-Lese-KopfTangente <Mathematik>Computeranimation
17:58
Fächer <Mathematik>VerschlingungDatenmissbrauchAdditionMultiplikationsoperatorDigitale PhotographieComputersicherheitDatensatzCAMGruppenoperationQuick-SortÜberlagerung <Mathematik>RuhmasseCoxeter-GruppeQuadratzahlVererbungshierarchieKreisbogenDatenfeldEreignishorizontComputeranimationBesprechung/Interview
21:47
CodecPlastikkarteDualitätstheorieHaar-MaßHill-DifferentialgleichungZoomStörungstheorieCASE <Informatik>BitrateFreewareTonnelierter RaumNP-hartes ProblemSpieltheorieProdukt <Mathematik>ZahlenbereichSystemaufrufGüte der AnpassungExogene VariableSpannweite <Stochastik>Gibbs-VerteilungEinsCAMHackerLokales MinimumTUNIS <Programm>Mailing-ListeComputeranimation
24:59
InzidenzalgebraSchießverfahrenEntscheidungstheorieMomentenproblemGrundsätze ordnungsmäßiger DatenverarbeitungFlächeninhaltWasserdampftafelAbstandCASE <Informatik>PlastikkarteZoomMP3Rechter WinkelDatensatzAnalogieschlussQuick-SortMultiplikationsoperator
27:05
HypermediaSchaltnetzSchießverfahrenGruppenoperationMaßerweiterungMomentenproblemRechenschieberProzess <Informatik>Metropolitan area networkGleitendes MittelMultiplikationsoperatorFreewareTVD-VerfahrenRechter WinkelVolumenvisualisierungMAPTwitter <Softwareplattform>FacebookYouTubeComputeranimation
28:38
SpiraleFolge <Mathematik>InformationSprachsyntheseMAPBitLastProjektive EbeneVersionsverwaltungExogene VariableProzess <Informatik>EnergiedichteStreaming <Kommunikationstechnik>Twitter <Softwareplattform>WechselsprungRechenschieberComputeranimation
29:57
Baum <Mathematik>Selbst organisierendes SystemStabHackerKategorie <Mathematik>BitMereologieMomentenproblemRechenschieberGrundsätze ordnungsmäßiger DatenverarbeitungFlächeninhaltTeilbarkeitCoxeter-GruppeATMComputersicherheitHilfesystemMotion CapturingNeuroinformatikMultiplikationsoperatorZweiDoS-AttackeMehrkernprozessorTwitter <Softwareplattform>Formation <Mathematik>
33:12
AutorisierungURLOrtsoperatorSpieltheorieStabHackerMailboxMarketinginformationssystemMereologieGrundsätze ordnungsmäßiger DatenverarbeitungCASE <Informatik>KontrollstrukturWort <Informatik>Mailing-ListeSchreib-Lese-KopfMultiplikationsoperatorAnnulatorMinkowski-MetrikFigurierte ZahlFlächeninhaltBesprechung/Interview
35:59
MultiplikationsoperatorTelekommunikationPlotterAutomatische HandlungsplanungMetropolitan area networkPunktWeg <Topologie>VolumenvisualisierungSprachsyntheseProdukt <Mathematik>Quick-SortComputeranimation
37:19
Offene MengeSoftwaretestFlächeninhaltMinkowski-MetrikFolge <Mathematik>Familie <Mathematik>BootenQuick-SortSchnitt <Mathematik>HalbleiterspeicherProdukt <Mathematik>WasserdampftafelVollständiger VerbandPlastikkarteDifferenteMessage-PassingMaschinenschreibenRauschenVideokonferenzEinfacher RingCASE <Informatik>Metropolitan area networkVolumenvisualisierungOrtsoperatorBesprechung/Interview
39:12
MenütechnikSchießverfahrenGruppenoperationQuick-SortMetropolitan area networkDruckspannungMailing-ListeBootenHardwarePunktMultiplikationsoperatorVersionsverwaltungEreignishorizontComputeranimation
40:28
Mailing-ListeEreignishorizontEinsGamecontrollerComputerspielFolge <Mathematik>InformationSelbst organisierendes SystemMatrizenrechnungGeradeMereologieZahlenbereichFestplatteQuasigeordnete MengeFaktor <Algebra>KrümmungsmaßQuaderPlastikkarteDifferenteTouchscreenDesign by ContractNummernsystemSpezielle unitäre GruppeComputeranimation
43:20
InformationHalbleiterspeicherVideokonferenzMereologieFestplattePlastikkarteMultiplikationsoperatorURLMinkowski-MetrikComputerspielPunktAbgeschlossene MengeNP-hartes ProblemSpeicherkarteMAPGrundsätze ordnungsmäßiger DatenverarbeitungATMComputersicherheitSchreib-Lese-KopfRuhmasseComputeranimation
45:39
BenutzerfreundlichkeitMomentenproblemDatensatzMaschinenschreibenSpieltheorieGruppenoperationKinetische EnergieQuick-SortGüte der AnpassungGewicht <Ausgleichsrechnung>AbschattungSummengleichungPlastikkarteWald <Graphentheorie>Rechter WinkelDemoszene <Programmierung>SchießverfahrenMereologieCASE <Informatik>MinimumSchreib-Lese-Kopf
48:29
Baum <Mathematik>ProgrammierungHalbleiterspeicherProdukt <Mathematik>BildschirmfensterSchießverfahrenTropfenVirtuelle MaschineMenütechnikHypermediaCASE <Informatik>BinärdatenGebundener ZustandFormation <Mathematik>EreignishorizontKanalkapazitätSupremum <Mathematik>DifferenteTouchscreenMultiplikationsoperatorRechter WinkelSLAM-VerfahrenInformationAutomatische HandlungsplanungComputeranimation
51:20
EnergiedichteMultiplikationsoperatorFolge <Mathematik>SchießverfahrenGeradeExogene VariableWasserdampftafelCASE <Informatik>SchlüsselverwaltungQuick-SortComputeranimation
53:00
SchießverfahrenEreignishorizontRechter WinkelHardwareZweiphasenströmungMetropolitan area networkSystemzusammenbruchMultiplikationsoperator
54:28
InformationNatürliche ZahlBitZahlenbereichAutomatische HandlungsplanungMetropolitan area networkMultiplikationsoperatorCollatz-ProblemMailing-ListeDifferente
56:09
Spezifisches VolumenTexteditorDruckverlaufWeg <Topologie>Rechter WinkelComputeranimation
58:05
DatenverwaltungQuick-SortAusnahmebehandlungDifferenteMultiplikationsoperatorURLWellenpaketEinsRauschenSpieltheorieMereologieGrundsätze ordnungsmäßiger DatenverarbeitungFlächeninhaltBenutzerschnittstellenverwaltungssystemRandomisierungElektronische PublikationEinfacher RingLokales MinimumComputeranimation
01:00:36
HackerGrundsätze ordnungsmäßiger DatenverarbeitungPunktMultiplikationsoperatorEreignishorizont
01:02:08
WinkelMAPEntscheidungstheorieFlächeninhaltAbstandProzess <Informatik>PunktGleitendes MittelFreewareGrundsätze ordnungsmäßiger DatenverarbeitungComputeranimation
01:03:40
WinkelCookie <Internet>ParadoxonWeb logSprachsyntheseMAPBitDelisches ProblemMomentenproblemWechselsprungProzess <Informatik>Metropolitan area networkKlassische PhysikTLSVolumenvisualisierungHackerProdukt <Mathematik>PlastikkarteWeg <Topologie>MultiplikationsoperatorComputeranimation
01:06:01
DatenflussVersionsverwaltungE-MailURLFAQWechselseitige InformationGrundsätze ordnungsmäßiger DatenverarbeitungMultiplikationsoperatorTwitter <Softwareplattform>BitComputeranimation
01:07:31
HackerBitMereologieDifferenteComputeranimation
01:08:55
MarketinginformationssystemHilfesystemRichtungAutorisierungFigurierte ZahlOrtsoperatorComputeranimation
01:10:16
AuswahlaxiomCASE <Informatik>MultiplikationsoperatorZweiKrümmungsmaßSchreib-Lese-KopfBesprechung/InterviewComputeranimationVorlesung/Konferenz
01:12:03
BitPlotterAutomatische HandlungsplanungPunktFolge <Mathematik>SprachsyntheseFamilie <Mathematik>Computeranimation
01:13:27
SteuerwerkFolge <Mathematik>MaschinenschreibenRauschenSoftwareSchießverfahrenVideokonferenzEinfacher RingQuick-SortCASE <Informatik>Metropolitan area networkFächer <Mathematik>Arithmetische FolgeSchnitt <Mathematik>VolumenvisualisierungComputeranimationTechnische Zeichnung
01:15:54
ComputerspielFolge <Mathematik>Physikalischer EffektMereologieZahlenbereichVersionsverwaltungKrümmungsmaßDruckspannungPlastikkarteDifferenteFreewareZweiGamecontrollerDesign by ContractEinsComputeranimation
01:17:41
FestplatteHypermediaQuaderNP-hartes ProblemFreewareMultiplikationsoperatorComputeranimationBesprechung/Interview
01:19:11
ComputerspielMomentenproblemAbgeschlossene MengeMereologieRechter WinkelComputeranimation
01:20:28
E-MailPunktBitRechter WinkelMomentenproblemComputeranimationProgramm/QuellcodeBesprechung/Interview
01:22:02
PortscannerMenütechnikExogene VariableMinimumCASE <Informatik>Rechter WinkelComputeranimation
01:23:30
MomentenproblemMereologieRechter WinkelTwitter <Softwareplattform>Programm/QuellcodeComputeranimation
01:24:46
HypermediaMenütechnikBildschirmfensterHypermediaMultiplikationsoperatorProgramm/QuellcodeComputeranimation
01:26:07
SI-EinheitenBaum <Mathematik>Rechter WinkelFolge <Mathematik>SchießverfahrenVideokonferenzEnergiedichteGebundener ZustandFormation <Mathematik>Spider <Programm>ZweiComputeranimation
01:28:33
MIDI <Musikelektronik>HypermediaSchätzungSteuerwerkGeradeGüte der AnpassungSystemzusammenbruchQuick-SortProgramm/QuellcodeComputeranimationVorlesung/Konferenz
01:30:17
PortscannerHill-DifferentialgleichungMenütechnikComputerspielInformationHackerMotion CapturingMultiplikationsoperatorRechter WinkelEinsBitMomentenproblemGüte der AnpassungWasserdampftafelNormalvektorComputeranimationProgramm/Quellcode
01:33:42
KrümmungsmaßMathematikBildschirmfensterMenütechnikProdukt <Mathematik>MomentenproblemRechter WinkelWellenpaketComputeranimationProgramm/Quellcode
01:35:04
MenütechnikDatenverarbeitungLineare OptimierungTransformation <Mathematik>MereologieComputeranimationProgramm/Quellcode
01:36:28
HackerProdukt <Mathematik>MAPPunktPlastikkarteEreignishorizontWeg <Topologie>TouchscreenMultiplikationsoperatorFreeware
Transkript: Englisch(automatisch erzeugt)
00:00
Hello, everyone. My name is Jason Scott. I'm the director of the DEF CON documentary. And I'm Rachel Lovenger. I'm the co‑producer of this documentary. So what we're going to do here is we're going to do a breakdown of the creation of this thing, how we ended up with this project in our hands, how we spent basically the last year and a half putting it together, and the resulting lessons we learned from
00:22
it along with hopefully at the end maybe a little bit of bonus footage and strange stuff that didn't get into the documentary and or in some cases doesn't exist anywhere except for in this room. So let's get started with the fun. So basically what happened was like last February I was on a trip with Rachel in Helsinki.
00:45
She was doing a presentation at a conference and I said, okay, I'm doing some documentaries of my own. I want to go, too. So we were in Helsinki and what you see there is my smallest documentary set up where I have a tripod and some equipment in a bag and it is friggin' cold in Helsinki, enough that when I wanted to interview people, they would
01:04
say, yeah, you're going to come here. I'm not going outside. And so I was in the middle of it and we get this phone call. And the phone call came from Russ Rogers of DEF CON. And through a Skype call, I talked to him and he put forward this interesting
01:23
idea. And he said, well, you know, we're coming up on the 20th DEF CON. And I said, great. And he said, and we've been thinking we want to do a documentary about it and I can think of no finer person than yourself. And I said ‑‑ and he's like, and we'll pay you. Now, I've been an attendee at DEF CON for basically since 1999. I gave
01:48
a presentation there about running text files.com, the website that I run. And I have progressively spoken pretty much every year since then with a few exceptions. So I've been to many of the DEF CONs. I think I've only missed one. And I ‑‑ so I was a part
02:06
of the group. I knew what it was. But I was also well aware of the rule that there are no cameras running around taking pictures of everybody and that they will be punched in the face. So the problem here was, you know, we have this wonderful event. And did I want
02:23
to take on that pain? And then Russ mentioned the money again. And it was a ‑‑ and the funny part was I came up with a number of like, all right, for this I do it. And that was the number he offered, like on the button. And I said, okay, you obviously know me very well. So I said, I think I shall do this. Now, bearing in mind that
02:42
at the time I was shooting three other documentaries. So we'll talk about how I handled that. But, you know, I was busy. It wasn't like, hooray, my first documentary. So I made two other documentaries that people have seen. One called BBS the documentary, which is about computerized bulletin board systems. That one took four years, had 205 hours of
03:06
footage, ended up being seven hours split across eight episodes. And then GitLamp, because I thought BBS was just way too general. I made a high definition documentary about text adventures. And I went out and interviewed people from info com and that
03:23
history. And that one took four years. That had 120 hours of interviews. And had gone out very well. Went out in 2010. And so I had decided to do more. But I had some experience with technical documentaries and making things about computer people and getting people who weren't used to cameras to talk on the camera and so on. So I had
03:44
that experience. And I had done a kick starter. And, you know, so, yeah, signed on, went for it. But there were some fundamental issues that I wanted to know about. The thing was that I knew my previous films had been about subjects that were general,
04:03
like text adventures. Well, I'll just talk to people about text adventures until I have so much footage. I have a movie about it. And same thing with bulletin board systems. But this was about a finite event that happens between four and five days depending on how you perceive it in the middle of the summer in Las Vegas and then never happens again.
04:22
Any moment you don't film is lost forever, which is an enormous amount of pressure and completely different than how I make my films. So how the hell are we going to do that? How about the fact that everyone doesn't want to be filmed? Nobody wants a piece of this. Traditionally people have been driven away or whatever for doing sweeps, for screaming.
04:44
There's been many stories of people talking ‑‑ one person talked about he was running a booth and how he was talking to one of the goons and suddenly the goon turned and said, you will stop that. He was like, who is he yelling at? It was somebody up in one of the sky boxes in the old Riviera aiming down at the booth. So they were pretty strict
05:08
about let's not get with the cameras and now we were going to say let's film everything? So that was a bit of a nightmare to consider. And finally, how do I make this not suck?
05:20
How do I make a film that's not going to look like something that G4 shit out in three days? How am I going to do that? How am I going to bring something special to it? How are we going to put a movie together? And originally it was I'm going to direct this and again I'm in Helsinki with Rachel and Rachel is like, I'm going to help you. But
05:45
she said I'll help you do this and we'll approach it together from the beginning. This wasn't where I got weird and then I said what do I do? From the beginning she said I want a piece of this too. And I was like is this something to do? And she reminded me that she also had a degree in film and had done films and yeah, maybe she wants
06:02
to help with this. And finally, how do you do it in six months? Because they wanted me to release the film on Christmas as a Christmas present to the gang. How am I going to shoot a film where we have less than that to film, edit and put it together?
06:20
So, we ended up moving straight into planning and I'm going to let Rachel describe her thought process on how she started to bring this together for this unbelievably huge project. So there's me in Helsinki. It was very cold, as Jason said. One of the reasons I thought
06:46
I could help out with this is I actually really like planning. I really like documentaries and I like planning things. So this is an example of a spreadsheet that I made of at my office at work I show a documentary once a month and my colleague and I brainstormed
07:03
the kind of documentaries that we want to show. We have a list of enough documentaries we could show once a month for like seven years. We tracked which ones we've seen, what they're about, how long they are, all that kind of stuff. Just to give you an example that I like planning things. I've also been to DEF CON a few times before that. So
07:25
I kind of had some idea what to expect. That I think was helpful. I've known Jason for a long time. So that's his senior year high school yearbook photo and I took that
07:40
photo. You go back just very quickly for this gang. So what do you pose with to show your fine times in high school? Well, your Roger Waters radio chaos album, if you look in the upper left you can see my figment cap from when they used to sell those in Epcot Center. A stolen highway flasher, a stolen pay phone,
08:09
just there, just evidence thrown into my high school yearbook photo and then of course holding in my hand a lineman's test set. So this is basically an evidence photo.
08:22
And a dust buster. Oh, and the dust buster because every single photo there's five photos of me in the high school yearbook and each one I'm holding a dust buster. Why? Because I could. We had a very permissive high school. So the first question that we set out to tackle
08:41
was how are we going to film all of this in this constrained period of time. And of course we realized there's no way that just between the two of us we could film everything. We need to bring on some additional people to have multiple cameras in multiple places. So Jason mentioned he had this kick starter. He put out a call to his kick starter
09:00
backers. So here I made this thing called the Jason's got documentary three pack. I'm going to make three documentaries where you fund it. And I remember that kick starter gave me shit at the time. They were like you're asking for $100,000. You're not going to get that. And also you don't have any rewards
09:20
under $100. And I was like well my counter offer is I'm changing nothing. And we're going to have 40 grand in 24 hours. So I knew my audience. And I have a very strong connection to this audience. They know I work hard on these films. They know why I want to make them and what I'm about. And I felt very bad that I might take on
09:43
this other film. So I turned it around and said instead, guess what, you get another film for the amount of money you put in. And you're going to get some advanced notice of some of the pieces in it and everything else. So I had to turn it around and say actually this is a good thing. Plus I get more practice and in some ways I get more equipment
10:03
that will help. So that was how I mitigated it. People were basically excited. Is this where I mentioned the recruitment? So what I did was I said I need crew. If you were supporting a Jason Scott documentary, do you want to make one with him? And
10:23
a bunch of people jumped forward and said sure, with no information. You know, yes, I will do this. You basically told them we will fly you out there and it's a shit ton of work. I didn't even tell them that. I just told them it was a shit ton of work. I didn't make it clear we were going to pay for
10:41
anything. I didn't want somebody treating it as a free trip to Vegas. So I just said we're going to shoot. You want in. And we had I think eight people sign up. And I chose what ended up being I believe five. And I had one person bow out because of work commitment.
11:02
No hard feelings with him. And so I ended up with four people from my kick starter group who literally the way I met them in a few cases was when they flew here. Anyway, that's how we handled that. We'll come back to them, too. So once we knew we would have multiple people
11:22
filming we started trying to figure out what are all the things we want to cover. So we sort of poured through the schedule. We knew we weren't going to focus so much on filming all the talks. A lot of those are filmed anyway. So it was actually more helpful looking through the forums where we got information about all of the parties
11:44
and the contests and the events and the unofficial as well as the official events and where they were going to be and when they were starting. And that was incredibly useful. Anybody who uses DEF CON or goes to DEF CON, I'm sure you know this, right? There's just places you go to and there's places you walk by and you hear someone say I'm
12:02
doing an Easter egg contest. And you're like, well, good for you. And you don't do it or you go yeah. And there's so many people for whom DEF CON is a very limited experience. And so we suddenly had to become the omniscient awareness pack of all aspects of DEF CON 20.
12:21
Everything from like how do they set up the rooms through to every event that was even peripherally being planned in the forums because some of them are very, very liquid in the beginning. Like I'm thinking of doing a thing and I think I got someone tell me it was okay and we're like I got to get them on the list. All right, guy with
12:42
thing, you may be a movie star soon. So that was a very strange experience to pull that much together. So we pulled that all together into this again a spreadsheet and we captured what things were happening, when and where they were going to be and tried to sort of sketch out what are the things that we think we want to film about this event to sort
13:04
of ‑‑ in order to tell that story. And some of these are going to be things that are going to be happening all weekend. So we know okay, we want to be there when Jeff explains what the tamper evident contest is and hands out the box. This is a fantastic document. This is Rachel's work. And part of her professional job
13:21
is constructing data in a way that makes sense and understanding the underlying pieces of it. And she's very good at it. And so we had a real gift here because if you look at it, there's a color coding to indicate will we get in trouble if this is not filmed down to if the camera swings across it, everything is good. And then followed by what's the
13:43
narrative? What do we think the narrative is? What's the narrative of the toxic barbecue? What do we think the story that needs to be told about a speaker is? And then followed by who do we think are the players in the story? Do we know who the organizers are? Do we know who the big people are? And then finally notes where I write, I don't understand
14:01
anything and everything else on the side. And this goes on ‑‑ we only have one slide but it goes on for like a dozen pages at least. It's a huge, massive document. And there's also, you know, it highlighted things that we didn't know and then we would reach out to pyro or reach out to us or ask people, okay, what's going on with
14:21
this? Is the beard contest happening this week, et cetera? So that's how we found out things like the cannon ball run wasn't happening and other times we would get surprised and find out that something was happening that we didn't know. But we were ‑‑ this was our secret weapon. One of the secret weapons is where is the work? Here it was. Here was months of screaming work trying to track
14:42
down who's this, who's this, who's this and what is it? So we had, if you want to say, the Bible that DEF CON doesn't have as to what DEF CON is as a reference document. The encyclopedia of DEF CON. So that got us about as prepared as we could about the events. The next question we tried
15:02
to tackle is how are we going to film everyone, you know, film an audience of people that doesn't necessarily want to be filmed or hasn't traditionally want to be filmed. We went through a number of ideas. We had an idea at one point to give out paper masks. We proposed things ‑‑ one of them was maybe a paper mask with at the point
15:24
anonymous or another one that people could hold up when the cameras went by. And the response from the goons was no fucking way are you going to give 15,000 people masks. So instead we decided just to make ourselves really identifiable and that anyone
15:44
would be able to see us coming and could get out of the way or kind of indicate they weren't interested. So our first idea was we would get everyone orange jumpsuits and we quickly realized that ‑‑ 103 degrees plus jumpsuits equals we have three crew members at the end. And everyone running around all day in these,
16:01
we didn't want to kill the volunteers. So we went instead with these nice light mesh orange vests. Jason will show off for you. They have lots of nice pockets in them, for carrying things. And we spray painted the logo and the word documentary on them. So there would be no question that, you know, who we were. And the side benefit
16:24
of this was that we were really easy to spot by each other. So if we were like, we're looking for one of our crew members, we could always find them. And you'll see them throughout the film, actually. To this day I will see people in these and go, I wonder what they're filming. And then we entered the real official pre‑production
16:46
stage. So I want to call out here to Russ Rogers. He was also really our primary liaison. So Russ and Dark Tangent were our co‑executive producers. But Russ was the guy like our
17:02
day‑to‑day contact. If we needed anything from the conference, if we had any questions beforehand, while we were here, he was our guy. Yeah. Russ and I talked ‑‑ when all was said and done, I think Russ and I talked for roughly between 100 and 200 hours over the past 18 months. Just over time. I mean,
17:22
he was there. Every time. To give me heads up, to tell me something is going on, to get back to me on every aspect. This isn't something where it says executive producer and that means they wrote the check. Literally, this guy was working on it equally as hard
17:41
as me. Especially some months. Especially as we started to move towards where is this thing going to end up and how are we going to publish it. He was right there. So he's not here right now, I don't think. But believe me, he was ‑‑ as critical as any other component, this guy. So then we had our crew. So we want to
18:03
introduce you to them. These are the six guys and then Jason and myself. These are actually the photos that we sent to the goons, the security goons. So in addition to having our vests, they wanted to make sure that they knew what all of our crew looked like and so nobody could impersonate us. So there would be documentary crew within
18:21
six hours of the documentary crew being there, running around rough shot. I don't think anyone tried to impersonate us, though, that I know of. No, we were not ‑‑ I don't believe anybody actually impersonated us. We were confused with people once because ‑‑ and somebody with an orange shirt was kind of a dick. And somebody was like, the documentary crew is harassing me. And it was like, no, they
18:45
don't have the time to harass anybody. And I mentioned this to one of the goons and they said welcome to our world and everyone who has a red shirt. So we actually ‑‑ I looked back on it. We gave them shockingly little preparation
19:01
for what they were going to experience at DEF CON, especially considering most of them had never been to DEF CON and now we're asking them to cover everything about it. One thing we did ask them was to watch Morgan Spurlock's Comic Con documentary had recently come out and not for the same topics exactly, but not even the same story
19:21
arc, but we knew this was a good example of what it's like to try to capture on film an event with massive amounts of people and tons of things going on at once. So we said watch that and you'll have a little sense of what you're in for. And then aside from that, we just wanted them to be comfortable and safe. Yeah. And I do say ‑‑ I had met Morgan Spurlock at a conference and so we recognized
19:46
each other and then he was at a presentation of Comic Con episode 4 and we went there. And so I watched it like, oh, somebody did sort of the same thing I want to do. And we watched it and afterwards his two producers and himself were there and I actually
20:03
asked them a lot of way too technical questions personally, like when they were just chatting, not Q&A and I have a question. Please teach me how to film. But I did get some hints from him and what they were shooting for and they did open my mind. They came up with some ideas that they never had work and I just want to mention one because it was
20:23
kind of brilliant. He wanted to ‑‑ so they do a more story arc thing than I would ever do where they actually went out, they got 20 ‑‑ they had applicants send in a recording of I'm going to be at Comic Con and here is my story. And then they chose like the eight or nine most compelling stories and then sent crews and then they ended
20:42
up using four of them or three of them. And what they wanted to do, if you know of Comic Con, it's got this massive, you know, many, many thousands of square feet floor. Massive thing. He wanted a Super Bowl cam and what he wanted to do was as a transition,
21:00
you would be following someone's story, they would walk out on the floor and a camera would pile back from them and zoom down Comic Con's floor and then follow the next person as a transition. And when he got there, they were like, no, no, there's no line of sight anywhere in the Comic Con floor that does that.
21:21
He could have done that with drones. Yes, that's exactly the next thing they want is helicopter drones flying over people with massive banners so it just looks like Star Wars episode 4 trench scene. But anyway, he was thinking out of the box, too, of how
21:42
do I make this exciting and it was very inspiring. So thanks, Morgan. We also had in our pocket one ringer, one of the people on our crew, Eddie Coudell. He is a professional as well and he's done a lot of work with Boing Boing TV and Maker
22:03
at Comic Con and at South by Southwest so he's kind of familiar with being dropped into these kind of crazy situations and being able to handle it. We wanted to know we had a clutch just in case, just in case it got really hot because there were so many unknowns. We wanted to know we can send a guy in who has filmed these things, who's going to hold the camera steady, who's going to follow what's
22:23
going on and we don't have to worry. So if we really need footage and we're scared and everyone is falling apart, we know Eddie will at least barrel through. So that was just us taking a little precaution for the good and I insisted he be paid at close to his regular rate and treated like this was ‑‑ not hey, buddy, come in and do
22:43
hard work for free because DEF CON ‑‑ ‑‑ I think we still made him sleep on the floor. We did. Eddie is here. So why don't you tell them about the equipment. So where are you going to go about when you're putting this thing together? A lot of people
23:04
when they see a movie there's a certain range of people whose response is tell me exactly every last piece of equipment you use to make this film because that's kind of what we all like to do. I know a number of film makers who also make geek documentaries and after I got my kick starter money I sat down with them, Paul of Two Player Productions
23:24
who are the ones doing the Double Fine documentary right now but they've also done Mojang, the story of Minecraft, they've also done the 8‑bit movie about chiptune artists and I also have become really good friends with James Squareski and Lisan Pejol who are
23:43
the creators of Indie Game the movie and I basically did a con call with James and Paul and said your camera, what is it? And they tell me your sound, what was it? How did you get this shot? What lens did you buy? So I bought everything they had.
24:03
So I had some really good stuff like the cannons and I had some really good lenses and everything else. Just to explain what we're going about here, so the problem was is that the best camera to shoot with is the Canon 5D Mark II. I don't mean in
24:23
produce really good footage under a certain circumstance but the body is like 4,000 and the lenses are thousands so I had one because I shot for my movie but I knew we were going to have three crews and I couldn't be giving away three Canon 5Ds plus they're really weird to work with so we settled on something called Avixia which I'll show you more of
24:42
in a moment and so we basically had ‑‑ Rachel had a Canon, I had a Canon 5D, she had a 5D and then we had three Vixias and then we also ‑‑ this was one of our ideas was let's get little play sports and so what you see there in the center, there's
25:04
an orange one and two black ones, let's get play sports and give them to people at the con and get other footage and see what comes of that with the hope that we would get something utterly disgusting, something horrifying where there would be a moment where
25:23
you were like is it more of a crime that it can be seen and not just vaguely remembered and drank away? Is it terrible? And we didn't know ‑‑ of course we figured they'd come back and they would have been destroyed or someone would never come back with them
25:44
or whatever but we got 11 of them just in case and they were very cheap, we got them on special, they were under a hundred bucks, they're waterproof, they shoot in high definition, they can take shock and dust, they're just tough little bastards and we figured okay this one will ‑‑ they'll survive and we'll see how much footage we get from them
26:02
so that was like our little secret sauce wild card as opposed to the documentary crew runs in. Obviously we'll still respect people and we wanted shots that were evocative and people might have but we didn't want to lose crew for like six hours if somebody went on a road trip. This lets us be in places where we would
26:22
never know to be if we give them out to people. We gave them to some goons, some long‑time attendees and some of the people that were competing in like the scavenger hunt and some of the other contests where we just couldn't be with them all the time. So we ended up with a bunch of these cameras and obviously the lenses and other pieces
26:47
and it was all going to be filmed on digital, there's no analog in here, there's no video tape in here, there's no anything like that. We also have Zoom H4N recorders which are my favorite recorders, they're little guys, they're really tough as well and you could do recording with them in all sorts of circumstances and they go right to MP3.
27:04
When we ‑‑ let's look at the next one. Here's the setup that we ended up going for or a variation of it. This is me at another convention, this is me at a comic book grouping in New York City to test this. I ran around with it filming. We have a monopod sitting
27:22
on these little Canon Vixia G10s that also film high definition and here I have an extended microphone and I'm storing the item in my pocket. We ended up just getting rid of and slimming down and getting rid of the external microphone and using the internal microphone and having our guys put the microphone right here and try not to get in the shot.
27:44
And that actually worked out spectacularly well. What you see there is a setup that is infinitely portable, is really fast to set up, can get anywhere, takes really good shots and can deal with the action in just a really, really intense way. So
28:01
it turned out to be a really nice combination and we had three of these going at any given time. Is there another one? I think there's another one. So with that we kind of said, okay, well, or I should really say Rachel said, we should have a presence online. Let's get people excited. Isn't that what you do with a campaign?
28:23
Let's build up a here's what's going on, let's make a Facebook group, let's do a Twitter stream, let's let people know what's going on and build a YouTube channel, let's build a presence for the DEF CON documentary in anticipation. And there's a very interesting thing about that, which is that nobody gives a shit about DEF CON until like a month before.
28:44
Like a few people do, a few insiders do, but on the general, nobody's like better check the Twitter stream, better check the Twitter stream. They don't start getting excited until right before. We had a lot of conflict internally between us about this because we ‑‑ you know, she's like we should treat this well and I'm like but
29:01
nobody's giving a shit and we're not getting responses and I'd rather focus on this and this and so we had a lot of conflict and it just turns out for anybody who's doing anything like this again or any kind of a deal, it's just DEF CON is something that people put a lot of energy on but they put a lot of energy either on their projects or they put a lot of energy towards learning about it in anticipation like a few weeks
29:23
before to get more info. So it's better to like back load your stuff and have it ready to go and start dropping hints like a week or two before or three weeks before. Work on it, do your projects, but they don't really start paying attention to like day by day reloading what's going on until just before. That was a hard one lesson.
29:44
We wasted a little bit of energy on that. How do you capture the spirit of DEF CON? Past and present says the slide. So my concern
30:01
was this. Like in capturing ‑‑ like I said, first of all, no G4 crap. Second of all, I wasn't overly interested in doing a what I was going to call sparky goes to DEF CON story where I find some kid, it's his first DEF CON, I go to his house, find
30:20
out his mom and dad are still married and then he likes computers and he has one in his house and then he's going to go to DEF CON where he will be found naked floating down with the bubble stopping sometime on the second day. I just wasn't interested in that narrative. It forces ‑‑ it's a perfectly valid narrative to do that and do a story
30:40
that way, but I didn't think I wanted to do that. I wasn't comfortable with that. What I wanted to do was have authoritative voices in a mosaic discussing what DEF CON means to them and then the best we can illustrate all of that in the material over the course of the next ‑‑ the course of the movie. There was another mystery factor,
31:03
and I know the joke, which was what if DEF CON gets canceled? And it was ‑‑ and it could ‑‑ there's ways to be canceled without being canceled, right? I mean, hotel gets smoke bombed, there's a problem because of something there's nobody able to attend
31:22
the talks in the same way. They run into a security issue. There might not be a DEF CON to film. And I ‑‑ and that would be an interesting story, right? DEF CON is canceled and it just ‑‑ credits. Organ music. 17 minute movie. And so I was worried.
31:46
And so I front loaded with as many interviews as I could handle, especially of staff that I knew would be balls to the wall. So what you're seeing here is one of my setups. This is in a hotel at Hope. And Hope really appreciated that I was filming a DEF CON documentary
32:04
at Hope. I was like, yeah, I'm filming some people for a DEF CON documentary. I was able to do one thing, we were able to fly in dead addict because he lives in Toronto and I wanted to be able to film him but I didn't want to go to Toronto to film him so I brought him to New York. So for the first time, one of four people who have been to every DEF
32:21
CON got to go to Hope for the first time because he never got a chance to go before. So that was kind of nice. And we're filming in the hotel room I got for him. So it was a, you know, reuse. And I filmed interviews with dual core and deviant‑olem and dead addict at Hope and was able to use this kind of a setup. And this is my setup. So
32:44
I like to use halogen lights and flood the room with light and bounce it off. This is a shitty hotel room, let's be clear. The hotel Pennsylvania is one of the worst pieces of property in an urban area outside of a fire bombing or World War II. But I was
33:00
able to get some mileage out of moving it. If you've seen the shining, it feels a lot like ‑‑ It feels exactly like the shining. Shining plus ass rape. Anyway, so ‑‑ all right, move ‑‑ yeah, so like here's me filming Jeff. And this is like kind of how I would do this. So here's me. I'm filming him aiming it at his desk. This is one of only
33:20
two locations we could use. The other one was truly unusable. This one had an echo. But I filmed him randomly. And so I went to Seattle. I went to Los Angeles. I went to Colorado, Denver area. And I went to a couple of houses in California and a couple
33:42
houses on the east coast and Washington, D.C. and basically did about 50 interviews with people that made it into the movie in some cases and didn't get into the movie. So they're all filmed under different circumstances. Hackerspaces like DenHack and 23 and ‑‑
34:02
oh, Black Lodge up in Seattle, they opened up their spaces to me and then would have their members come over and one by one I'd interview them and just do these interviews and try to do my best to make them all interesting locations. And by the time I was done, before DEF CON, before minute one of DEF CON had started, I had roughly I want
34:24
to say between 30 and 40 hours of DEF CON footage about DEF CON and senior staff explaining why DEF CON meant things to them, what it was about and everything. So I knew I wouldn't have to track those people down. And then there were people who used to be part of DEF CON and are never going back again or rarely go back, like Death Vegetable
34:44
and Swamp Rat and other people. I wanted their voices in this thing even though I knew they weren't attending. So this was a real ‑‑ this was part of the hard work. It took me about 60 days to get flown around and do these interviews. So I knew coming in I was pre‑loaded. So if it all blew up, I could have all of this and say ironically
35:03
it never happened. But the thing is that the first documentary I did, BBS documentary, has a lot of talking heads. And yeah, they're weaved well and I worked really hard on it. But it is talking heads. And the same thing with GitLamp, a lot of talking heads and a lot of illustrations of games. And I knew that I wanted this film to be
35:23
kinetic. I wanted it that you were seeing things happen, that there was motion, that DEF CON is a thing of motion and activity and throngs and people moving around. And so I resolved that even though I had 30 or 40 hours of people sitting telling you DEF
35:41
CON is awesome, I couldn't see by Saturday. It is fantastic. I wanted it that you would see somebody blind drunk on Saturday or see that people were working hard or soldering. That was on my list to make sure that it would have that feeling.
36:01
All right. So that was all in the lead‑up time to DEF CON. And then finally last July we assembled our whole crew at DEF CON. There we are. Yeah, that's a pretty ‑‑ I love that shot. With our fearless leader. Fearless leader and Wendy lady and the lost boys. And this is us all assembling. We all have our outfits. We are an army. And I just
36:25
love this shot. So it's everywhere because it just really captures it. Oh, yeah, what's up with the fucking Segway, Jason? So I've been known for having a Segway in previous years because I like Segways. And I discovered or I realized that we were going to have
36:43
situations where we'd be over here in track three and then something would happen in Penn and Teller and I'd have to go there. And so I'm like I'm going to get a Segway so I can get from one to the other really quickly. Because we don't know if we were going to get radios and we don't know if we were going to get communication. So
37:00
the Segway became the catch‑all solution. So we got here. We checked all our equipment. We had a couple hotel rooms. One of them became our sort of HQ, our production HQ. And we made sure everything was there, made sure it was all working. We ‑‑ before
37:22
the conference started, we took our crew around. We did like a walk‑through of the space to show them where everything was going to be. And we had them take the equipment with them and kind of, you know, test it out and get comfortable with it and, you know, be able to ask some questions and stuff like that. So we did a whole walk‑through of this area. I think that was really helpful. We did like a sort of
37:43
boot camp, but mostly it was just to, again, make sure that we were going to be safe and comfortable and bring the footage back to us each day and that sort of thing. With the conference lent us a bunch of things, some walkie‑talkies, which ended up being a little ‑‑ you don't really want to keep walkie‑talkies on while
38:03
you're filming because you don't want someone suddenly ‑‑ Do we even know where room 4 is? Yeah, that can kind of screw up the footage. So these ended up being of limited use to us, mostly just because we didn't want it screwing up our shots. I seem to have some vague memory of us doing something really enjoyable with those
38:21
radios, like some sort of message. I'm now forgetting. I don't know if we remember. Yeah, we mostly used them to prank each other. Yeah, we were just fucking with each other. Does anyone even know where Kyle is? Kyle is still here. You don't need to find me. They lent us a printer and, of course, the hotel rooms. Yeah, the hotel rooms came from DEF CON himself, not even in the budget, and that was really
38:43
appreciated. We had a couple hotel rooms. I think we had three. Three hotel rooms to put our staff in and have as the thing. So we went out and bought some supplies. We got a lot of water and caffeine and food and Post‑It notes and things like that. And this is how I learned that if you go to two different pharmacies or drug stores in Las Vegas and spend about a hundred dollars
39:06
at each one, sometimes your bank turns off your credit card for no good reason. That was awkward. Then we had our production meetings in the HQ every day, our room, and this is where ‑‑ so, you know, we had our big list of
39:21
all the things that were going on, and we had assembled our crew into two ‑‑ three pairs of two people. So we'd have one person ‑‑ and we actually figured this out during the boot camp, sort of like who liked doing ‑‑ using the camera, who liked doing audio. We figured out who was a morning person, who was a night person, and we kind of paired
39:41
them up, like we paired up morning people together, and we had three groups of one cameraman and one audio recorder, and we ‑‑ colors. Yes. We nicknamed them team red, green, and blue, and each ‑‑ you know, when we knew what things needed to be filmed each day, we wanted to make sure, like, you know, is this something you're going to be interested in? So that we would kind of go through,
40:04
okay, here are the things that are happening tomorrow, who wants to film this? And then we would make up these shot lists for each day, so they knew, like, okay, at 10 o'clock, this is happening, and where it's happening. And then we had a bunch of things that were, like, you know, at some point go by the, you know, hardware hacking village
40:21
and that sort of thing. So things that happened at a certain time and things that were just happening all day, but they all had their lists. And then we had, like, the master list on the wall, which we had every event that was going on up there, and by the end of the day, we'd kind of check off all the ones that we had gotten coverage of,
40:42
and if we had ones that hadn't gotten covered but they were continuing the next day, we'd just move those over to the next day. Yeah, we had team red, team green, team blue, we named red team breaking bald, so that's what their name became after a while, because it was two bald guys. And we paired up our least experienced member with our most experienced member. So it was Alex
41:05
who had not been in Vegas, been to DEF CON or done any shooting up with Eddie who had done all of that, with the idea being that it would balance out to a reasonably talented person. And actually, you know, obviously like everything else, Alex learned really
41:20
quickly and Eddie worked with Alex and it went pretty well. And then the other teams, they really worked well. Team breaking bald turned out to be a real gift because these guys were getting up at 8 and they would go to bed at 2 or 3 over and over and Steve
41:41
on that team, the camera guy, would just film endless establishing shots of everything. So if you picked up the groceries, he would film the bag, you grabbing the groceries, you holding the groceries, the groceries, the groceries in the fridge, the fridge, the house the fridge is in, the sun and the town and then the factory the fridge
42:04
was manufactured in. And that was a real gift to me down the line because I would have someone talk in the editing room and I would be like, do I have a shot? Of course I have a shot of that. Because there was just shots of room, shots of people, shots of stuff. So each team started to take on a character of what they wanted to do and
42:21
it just kind of organically ‑‑ that part was organic. But as you can see, thanks to Rachel's planning, there was a lot that was not organic. Like I'm a real improviser. I don't come in with preformed questions for interviews. And yet here, you know, it was like, what is everyone doing? And we knew as opposed to you should just
42:41
walk out again and shoot things and come back. So that's ‑‑ you know, just the people who see this movie, I'm fractally pulling out here, but I'm just saying when people see this movie and they see the stuff, they're like, wow, it's because she did this amazing matrix of all these items of stuff so that we were always aware of what we
43:05
needed. And that's the real secret hard work that's not obvious on the screen. It's not just oh, they filmed until they made a movie. It's like that's what was really there. So unfortunately, yes, there is no secret get movie quick scheme.
43:21
So we also ‑‑ another part of our HQ, this is sort of like our information hub. Every time the guys dropped off their cards, their memory cards, we copied them onto multiple hard drives to make sure we had many copies of it and nothing would get lost. We had three hard drives. Every piece of footage went on three hard drives. And then
43:44
when we got it home, we put them in six hard drives in three locations to verify that we would never lose the footage due to a hard drive going south. And just to understand how much space these things have, the cameras had two 32‑gig cards in them and they could
44:05
record 25 hours of high‑definition video without having to be swapped out. And the audio could do 36 hours of full audio before having to be swapped out. So even though we did it every day, we didn't have situations where people were like, I'm out
44:23
of film. So we really, really over engineered that part. That part turned out to be really good. All right. Then we finally started filming. You know, the gang was set out on this really strange journey, right? These guys
44:43
were put out into this thing. For some of them, they had never been to Vegas before. For some of them, they had never been to DEF CON before. And it is really strange to experience DEF CON in god mode where you have essentially carte blanc to walk into anything. It was a really bizarre experience for me, especially because I had been there.
45:04
But for the others, they hadn't even been there. So it was like, you know, try to imagine you walk into a room and people are talking and you're like, well, I think I'll just go on stage. Yeah, this needs me. And I'm going to go sit behind this person and film the back of their head because I feel like it. And then that guy, oh, he's interesting. He's leaving. I'll follow him like a creeper until he goes into
45:24
the hallway. And oh, it's this thing. Oh, the goon security center. Sure, let's hop in there. Let's go talk to them. What the hell? And so that was like a massive emotional thing for me. But for the others, it was like, okay, I guess I'm going to film this part. You know, they were able to film inside and outside. They didn't ‑‑
45:45
here's an example of unused footage. We filmed Scotland at the toxic barbecue. But you can see here how the setup might be where they would set up the camera, they're listening to what's going on, and then they're talking to Scotland about the toxic barbecue. And so these little setups were everywhere. For me, I ran into an additional bonus, which
46:05
was I started filming from the segue. What this did was this afforded me crane shots to give me the kinetic energy that I wanted in the shots. And the film is loaded with these. These are post‑processed stabilized crane shots shot all over. And I'm wearing
46:26
a hat because I tried to make myself even more obvious, like I see a weird cowboy hat and bright orange and what the hell, oh, God, it's the camera guy. And, you know, looking back, I probably should have also had a steady cam Merlin, which was a weight
46:40
balanced thing, but I didn't do that. I would just be driving along and literally go like this, go around people, and then keep going. And that segue gave me enormous ability. There's a scene you'll see in the movie where it goes around a ‑‑ it goes around the speaker party on the roof. And you see me just zooming through people like I'm on some sort of weird rails, like right by people's heads. And I only ran over
47:03
one person. The whole con, which was really amazing. I was really surprised only once, and it was his fault, because he had ‑‑ he was sitting on his ‑‑ on the front row with his feet like way, way, way out, and it was dark. And I flew over
47:23
and he yelled and I gave him a red card and kept going. And ‑‑ don't touch my segue. Anyway, that turned out to be a very ‑‑ besides being a good transport mechanism, it turned out to be a really good filming mechanism, so it really added to the
47:40
film. I guess I'll mention here, I believe in tone poems, which is where you look at pieces of work and say, well, why do I feel this when I look at it? How do I create this? And how do I get that feel? And for me, believe it or not, a lot of the tone poem for the movie for me comes from action scenes in Sherlock Holmes 2, Game of Shadows.
48:05
And if you watch that film, you watch the forest scene, if you watch the fight at the end, a lot of the kinetic sense of that movie, I wanted this to have. And so I used that as a template, like kind of a rough feeling of like what would it feel like to go through
48:24
DEF CON. So the segue helped a lot. Anyway, so the crew went everywhere and they weren't afraid to go everywhere. And in a lot of different shots, you will see them because
48:40
one crew will catch another by mistake because they're moving around so much. So you can see here just all these different cases where they're filming and this is in many cases ‑‑ these are screen shots from other team members catching other team members on the way. And, you know, I watched great improvement. I keep making the joke
49:02
about Kyle because in the beginning Kyle is like, could you please, would it be possible to interview you to talk about the DEF CON documentary and I'd like to understand you working on this. And by Saturday he's like, yo, sup, what's this thing? And people just ‑‑ yes, I'm working on this thing. And so by the end they are like an
49:20
unstoppable information gathering force, like a news program on steroids, just slamming through this place to get all the info and just, you know, sometimes just miracles of like stepping in and getting a perfect shot of this event happening. Like perfectly framed beautiful. And so Jason mentioned like we had some
49:43
team that was more in the morning and some more in the evening but really everybody was shooting ‑‑ like we were working from 8 o'clock in the morning until sometimes 2 o'clock in the morning then we would go back to the room and have our debrief and production and planning for the next day. So I think we got probably roughly like three
50:03
or four hours of sleep at night. Right. And one of the things I ‑‑ I mean, I was very strong about treating the crew with as much respect as possible. So, again, we paid for the flights in, so nobody is putting any money in. And I insisted that we go on a really nice dinner the night before
50:23
DEF CON started. So we went to the Italian place here to talk more but mostly let them have whatever they want on the menu because I knew they were going to get terrible sleep and terrible eating and I wanted them to have a memory of at least oh, yeah, Las Vegas was kind of fun once while they are stuck on the ground trying to get this one shot
50:43
of somebody talking. I was happy once. I'll be happy again. So I ‑‑ because, again, this is the first time I have people working for me in this capacity and I can do whatever I want to myself. I used to do ‑‑ I had filmed things where I would go a thousand
51:01
miles in four days and that's fine. There's only one guy getting punched in the face from that but I'm punching people in the face by doing this and I wanted them to know I respected them as people. They are not just for hire machines that I can run into the ground and drop back in the recycling bin when I'm done. They worked very hard. Yeah. Really hard. This is my lovely Alex falling asleep during
51:28
an interview. And it's very adorable because if you listen to the footage they are like
51:40
first time in Las Vegas and Alex is 18 and so he would finish a day at 2 in the morning and then go back out again. So that's what you do when you are 18 because why not? So it wrecked him a few times. He definitely has work to show for it. Beautiful work.
52:01
It was rough on him. This is one of my favorite shots of him. You just want to hug him. So, you know, we had a lot of really impressive response in places that we were going. This is from the DEF CON kids sequence. The crew would always make sure to get some nicely framed interviews and do interviews like I had done to seamlessly fit them in and record
52:24
them under all sorts of circumstances. So what would happen is it wasn't just here's some people talking and here's a shot of a key and here's a shot of a room door. It was also sitting down and interviewing them straight up with the same approach that I was
52:41
trying to get them to. Like why are you here? What does DEF CON mean to you? What's a funny story? So here are these kids. They are explaining what work they are doing on the badge. So there's a lot of stories that are not just mine. I would estimate something like 70‑100 interviews that came back from the footage. And of course we really
53:04
like shooting outside. I didn't think it needed to be ‑‑ and this was funny because this is one where Kyle got lost, I believe, right? Was it the other one? He didn't get lost going there. They arrived back here and he was trying to find the
53:22
parking lot and going around Las Vegas was the problem. Right. He took a wrong turn with a rental car and showed up like an hour and a half later with the haunted face of a Vietnam vet. And I was prepared to let him have the rest of the day off. Like I was like if he comes back and let him rest and
53:43
we'll just work with what we have. Then he turned around and went with us to the bathroom. Just pro. Just fucking took it. So we got all these wonderful shots. We wanted, I really wanted and Rachel really wanted to capture these events that were on the
54:04
periphery of DEF CON and not just make it about this beige room has these people. I also knew for us attendees, many of us never go to the toxic barbecue. Many of us never go to the shoot. So what does that thing look like? So this kind of footage to me was a real gift and why the movie starts with them. Because otherwise you would
54:25
never know, you know, that this was happening. This is interesting because what you're seeing here is ‑‑ you're seeing General Alexander and Jeff walking but what you're really seeing is a new cameraman Steve Fish learning how to do the walk and talk and
54:45
the West Wing Adam Sorkin shot where he started just walking backwards through many different hallways with people clearing the way while these two guys talked about DEF CON. I had no use for this in the main movie but I made it the beginning of the preview
55:03
because in it, Jeff is basically General Alexander says what's up with the guys? Is this like crew? Do you have news crews? No, this is our people. He proceeds to explain to General Alexander who would be number one on the list of people who would not give a shit about this. The nature of the DEF CON documentary and why the DEF CON documentary was made
55:23
and what the planning was and why they're doing it. So I made that the introduction of the preview because I thought it was hilarious. So General Alexander, while you're off doing whatever you do, here's why we made the DEF CON documentary and the DEF CON documentary is going to be an explanation. It was crazy. And the whole time Steve
55:41
is walking backwards filming people. It's a Stanley Kubrick one‑take masterpiece of not getting hit with anything. So it's crazy. And so anyway ‑‑ I would say it probably helped that General Alexander's Secret Service people were screaming clear the hall, clear the hall. That was working out well.
56:03
They weren't doing that for us. Yeah, not for us. They should have been. You know, when you see the interviews that are done with the DEF CON logo behind them, here's wins, what would happen is that in our hotel room ‑‑ this is our hotel headquarters again ‑‑ I moved the couch, stole a DEF CON banner, hung it up
56:25
behind it with basically light ‑‑ my light gear and a microphone stand and a chair and then swung it behind them. And these are like kind of the more pro quote‑unquote here's a thing behind me and I'm talking about this. So that's why it's here.
56:43
I conducted most of these on the Monday afterwards. These were people like Wynn and Dan Kaminsky and others who had been there and I hadn't had a chance to interview them otherwise and they sat. Dan Kaminsky moved the flight to be interviewed. And I was able to get a whole bunch more interviews. So in the movie you'll see a lot of these with the DEF CON logo. This is the setup that I would use. And what I would do is
57:04
I would be interviewing a person on there, no notes, no anything, and then interviewing the person through a whole bunch of questions. And so a bunch of people sat this way. And this was how we were able to get a few more quote‑unquote pro interviews without too much trouble. I also filmed over in one of the rooms here and if you listen on
57:23
the soundtrack you can hear DEF CON just kind of like floating in the background. This is just the sound, the thrashing sound of people and things. And I had to do enormous amounts of sound editing which will go on afterwards. But this is kind of the setup from the side. It was always fun when Russ would see me
57:41
and be like where's Jason? I have Miss Kitty. She's ready to interview right now. And we had to find you. And I was also just kind of walking up to people and going, hey, want to be interviewed? And many people would say yes and many would say no and I would drag them off and interview them. So it was like completely random like
58:01
that. And I was doing that through a lot of it. That was how I was spending my day. And again people were pulling out play sports that we had given them in all sorts of different locations. So we were getting little tiny bonus ‑‑ now most of the ‑‑ with the exception of the scab hunt who produced about 20 hours of it, we had most people produce between three and seven minutes. Because they're in friggin' DEF CON. They don't want
58:25
to film it. So they're shooting their thing and they're doing a collection of little shots and fucking with things and doing stuff and then being done with it. So there wasn't a whole lot to go through at the end but there were people actually using these and they were very usable. So it actually turned out to be a pretty good gamble
58:43
for what it was. There was a couple times that we would film people and then they would sober up and they would find us and be like you can't put that in there. The most common thing was people would idly say to their bosses and I'm in
59:04
a documentary and their boss would say and you're not. Sometimes they were government employees. Sometimes they ‑‑ I don't know, got the fear of God in them and thought they had said something stupid or incriminating. So they would come and find us and we would
59:20
delete it. We would bodily delete the files. Because to be honest, like 99.9% of the people had no problem with us filming. So you can't be like, well, how dare you, we filmed it, it's ours now. I wanted to respect these people. I didn't want anyone to regret being in our film or at least minimize it. One way to minimize it was to respect people
59:45
who were like, no, I don't want to be in this, it turns out. Or I'm not comfortable with it. It only happened a few times. I only had a couple people who I sit down interviewed who said can you not put in any part where I discuss this subject.
01:00:00
I decided that's not a good idea and I said, okay, fine. I don't like playing that game of you said this was okay and now we own the footage and we're going to use it. I mean, you're making the wrong movie. You are making movies wrong as far as I'm concerned in general if you're doing that. If you have to be that, you know, don't act like you're frigging exposing some
01:00:23
underground orchid ring. Don't act like you're frigging morally safer and you've just caught people out. That's not the movie I want to make. So minimal deletion happened, but it did happen. One of the ways you should never ‑‑ don't do this.
01:00:43
I thought ‑‑ I was interviewing some drunk people and drunk people are funny and I said ‑‑ and they were going to give me the post‑mortem of how they won or lost the hacker jeopardy. So they are toasted, right? They are super‑sized drunk, right?
01:01:04
So I said it would be funnier to do it in the bathroom. It got weird. So what happened here is that basically ‑‑ and there's footage of this because it's on and I go, all right, let's go into the bathroom and let's do this.
01:01:22
So we go in and there's the casino host who had been using the bathroom who came out and said, no. This didn't make it into the movie. But I will always remember ‑‑ it's not the guy with the white pants, but the one
01:01:41
next to him, he's a little obscured here. The camera comes around, they are lined up to present and the guy looks over and goes, oh, what the fuck? Just that exasperation, God damn, a camera crew. I am pissing!
01:02:03
Anyway, didn't make it into the movie. Don't go into a bathroom. The only other time we weren't really allowed to film was because at one point we unwittingly, I swear to God, we wandered up ‑‑ one of the crews wandered up in the beginning
01:02:21
behind some goons who were talking. Never approach a goon from the back. The goons turned around and said, whoa, whoa, you can't be filming us ‑‑ no, no. We made sure from that point to literally approach them from the front or film from a distance and not to record them because if they are working and busy and making decisions
01:02:41
and discussing it, what do we do with this? Even at the screening last night there was a goon incident, but you didn't hear it. Somebody decided ‑‑ well, he was drunk, all right, fine, that's already base level. But he decided he didn't need to go all the way to the bathroom, and so he just pissed
01:03:02
himself, pissed the area and fell off his chair asleep. Thanks for the free beer, Jeff, and a goon had to get up and quietly go over there during this movie while the goons are talking about how hard their job is and roll this
01:03:21
drunk and get him out of there. So you don't hear about that. So, yeah, great place. So the goons are always working like this, they are working on things you don't have to see and so they asked that we not have their internal discussions, otherwise it was free and clear, free and clear.
01:03:41
Best quote of the whole thing was we had this happen. And so I'm not going to tell you how they were, but, yeah, so we said, okay, we won't shoot this. You know, the best moment for me will always be where I was shooting, you can see me here shooting behind Render Man, and Render Man uses this slide, which is the Kaminsky problem.
01:04:07
I'm always put up across Dan Kaminsky, so I never see his talks, and it's really silly, and he wants to see my talks, I never get to see them live, he doesn't get to see my live, that is the exact moment I realized Kaminsky is on stage somewhere.
01:04:23
And Dan Kaminsky for his bit is a rather famed speaker, and I considered Render Man a classic DEF CON speaker, but so is Kaminsky, and I realized I had aimed all of my team towards Render Man's talk and had nobody assigned to Kaminsky's talk, which I was not aware of where it was being held.
01:04:42
So, and I said last night, this is like the kind of dream sequence, you do this in your dreams, is I'm standing behind somebody at his presentation, he mentioned something, I'm like, I must be there now, and I run off the stage onto my segue, onto my winged
01:05:00
beast and fly through DEF CON at like 20 miles an hour, as fast as the thing goes, and I pass Eddie, and I'm like, Eddie, go to Penn and Teller and film Kaminsky, and I fly further and I think I hit Drew somewhere up there, and I was like, Drew, also, see if you can film Kaminsky in Penn and Teller, and I zoom into the Penn and Teller space,
01:05:24
Kaminsky has packed Penn and Teller, and there are a hundred people, 40 minutes or into his own talk, waiting to maybe get into Kaminsky's speech, that's how for some places their job requirement is you must see Kaminsky's speech live. I zoom past them like it's nothing,
01:05:46
see ya, bitches! Go through the doors, the double dutch doors where there's Kaminsky's speech in the Penn and Teller room, drop my segue, run down the center aisle and jump
01:06:00
on stage and get behind Kaminsky and start filming him as if it was no thing, and nobody shot me. I could just do this, truly God mode, I just wall hacked DEF CON and ended up behind him, and there's a really funny tweet from somebody going, what the fuck is up with the cowboy? Like somebody is on, like watching this from their room, and they saw
01:06:26
the shot with Kaminsky, and they're like, what's up with the cowboy? And then later, lol, Jason Scott. So that was one of my things. Otherwise this would have never happened, and we ended up using both of them and putting them together in the movie and we got all these great shots because we had that reactiveness. Eddie came in, started
01:06:42
filming and actually zoomed back and forth a couple times to get both and get as much as I could of the footage and the goodbyes and everything else. So it was purely luck and that he even mentioned Kaminsky at all. Otherwise we would have missed it. Weird moment. Thank you so much. So our crew, after we finished, we sort of
01:07:07
debriefed and found that, you know, they had all been asked a lot of the same questions over and over and over again as they were doing this. So some of those questions were pretty straightforward. A lot of these things up here we've either already answered or
01:07:21
will answer by the time we get to the end of this presentation. There were some that were a little bit more out there. So I want to talk about those for a minute. So the first one, you know, people really wanted to know when we wanted to film them, if I agree to be in this, am I going to end up feeling embarrassed for being in this movie? So the answer there is, of course, as Jason was talking about, we did not
01:07:46
set out to intentionally embarrass anyone. This is not a kind of movie of like, look at the weird hackers or that kind of thing. So we also know that there's a lot of crazy shit that goes on at DEF CON and we wanted to capture that. But everybody who was doing stuff like what you saw in this slide, you know, they knew what they were getting
01:08:03
themselves into. And we made sure of that. People who were here last year, they had these badges. People wanted to know what our badge was, because one of the parts of the aspect of the badge challenge was you could take the human badge and hold it up next to another badge and they would kind of communicate with each other. And they had an aspect of the challenge was to
01:08:25
communicate it with all of the different kinds of badges. So we had a press badge, which was a little bit rare, I guess, to find. And so people wanted to scan them. And at first we found this was a little bit disruptive, like we couldn't get down
01:08:40
the hall once people started doing it. And then we realized, well, we could just interview these people. So when people would come up and ask to scan the badge, we'd say, all right, you can scan it, but then talk to us about what you're doing here at DEF CON. And that worked out pretty nicely. This one was a little weird. We got a lot of people asking us for help. And my only ‑‑ you know, they would ask directions.
01:09:04
They would ask us about the schedule. Somebody came up to me during one of the talks and said a guy popped his knee and he needs a wheelchair. And I was like, I'm filming a documentary. I'm in no position to do that. And so, you know, we would point them towards the goons or towards other people that we thought we could help, could actually
01:09:22
help them. It was a little weird. The only reason I could think is because we had these orange vests and sometimes we had the walkie‑talkies and we looked like authority figures. But it's strange to me at DEF CON where people seem pretty conscious of that. Walkie‑talkie authority figure, this guy is wearing silk pajamas
01:09:41
for Christ's sake. This is not someone you should be putting all your faith in. Speaking of those vests, there was a lot of interest in them. Not too many people wanted a Rufius, but people did want ‑‑ everybody wanted a Rufius.
01:10:01
They wanted to know where can I get one of those vests. As I mentioned at the beginning, these vests were custom made for this. We just made them for our crew. Of course you can order orange vests anywhere, but this was a one‑time thing. A lot of friendly people at DEF CON offered our crew drinks at all times of the day.
01:10:23
Most of the time we were like, oh, we're working, thanks, no thank you, maybe later. Sometimes towards the end of the night we were known to accept a beer or cocktail or in this case a swig of homemade absinthe. So it was very friendly and I guess we were
01:10:45
lucky that nobody Rufied us and took our vests. There's a great footage. I had to watch every second of the footage. There's one footage with Eddie that I love. Someone is like, Jason, I have no choice. Hand comes out, beer leaves, goes behind camera. I'm sorry, Jason.
01:11:01
It all worked out. A lot of people suggested we should make this documentary every year. But in the end we didn't break anything. We didn't lose any of our equipment. We didn't lose any of our footage. We didn't get in too much trouble. I think it was a success.
01:11:23
After we were done, we took our crew out to relax in Las Vegas for a couple ‑‑ like a day and a half. We basically said we have no requirement for you for Monday. So I made sure the rooms were booked from Monday to Tuesday morning and flat on Tuesday so they could have a day of their own. They did go karting and went
01:11:42
out to eat and went to places and we went to Pepper Mill and just generally got to see Vegas. Again, for a couple of them this was it. This was their first time in Vegas. So we took them to the Encore and Pepper Mill and I took them over to Luxor just to see it and everything else just so you could actually see ‑‑ get your head up out of DEF CON and there's actually a Vegas here. Just a little gift.
01:12:07
Just so you know. We're going to go through this. We're going to show a little bit of footage at the end. If you have places to go, totally understood and we'll do this until they kick us out of the room. Anyway, editing and finalizing. Now suddenly I ended
01:12:23
up with all this footage. How do you put it all together? At one point Rachel said how are you making the plot of this? I'm like here's how you do it and this is literally what I drew in the restaurant. And this was my plan. And she was not happy. But the way that I approach these things is pretty straightforward. I tend to take all
01:12:44
the footage and I watch all the footage and then I put clips out. I go like, you know, render man, colon, I don't get nervous before I speak. And it will be like that's what it's described. And then another one going like shot, walking from here to here.
01:13:00
Or it will be like guy starts to get angry but then realizes who we are. Or things like that. So there will be like shots and things and I start to put them into a classification. And I start building up these little sequences where I'm like here's a bunch of people talking about ‑‑ there's lots of drinking at DEF CON or speeches
01:13:21
are hard to put together or I'm here to meet people or these people are my family and I start assembling them in great amounts and eventually it starts getting to the point that I end up trying to put together like‑minded shots over these sequences to illustrate things until finally ‑‑ this is actually what the final piece looks
01:13:42
like before I printed it. And so as you can see there's well over 2 or 3,000 cuts in the movie. I ‑‑ this is what took me ‑‑ it took me two and a half months to go through the ultimate ‑‑ it was 278 hours of footage. I went through that
01:14:00
and produced from it 6,000 clips. The 6,000 clips then got ‑‑ I probably used probably 1500 of them and then those 1500 had something like 3,000 edits done to them. In many cases I fix what people are saying. I take away ums and ahs. I remove
01:14:20
weird sounds. We've had a lot of progression software wise so I could remove clangs or phone rings or in a couple of cases unintended air conditioning sounds. I would only do this at the end just to remove the air conditioning sounds so you couldn't hear what the person was saying over it. And then studying the shots and removing line noise or I should
01:14:43
say video noise so that they looked better. I was very pleased. I got one sequence done and we were like, okay, there's going to be a movie here. That was the speaker sequence with Render Man and Kaminsky. We were like, yup, there's a movie here. They were shot with all different footage. It all works. There's no question we have a movie here and I was very happy. That was months and months and months and months of work.
01:15:04
I put the final touch on the final thing for this thing on June ‑‑ no, July 3rd. So I was editing. I took a month off and I would come back to it. I estimate I've probably seen the full movie about 170 times. I've seen this movie ‑‑ I can just sit here.
01:15:25
I do this with a lot of my movies. I can just sit in the back mouthing everything everyone is saying and anticipating it because I know it by heart. There's a syndrome that I call over familiarity syndrome. I'll shoot somebody dancing and then I'll live with it for months and when I see the guy at this, I'll be like, buddy! Who the fuck
01:15:47
is this guy and why is he acting like we're lovers? The answer is because I've been looking at your lovely face for three months like some sort of errant creepy fan. How do you get it in for Christmas? You don't. We got up to Christmas and were like,
01:16:01
ah, fuck, no way. It was a big stress because he was like, I made a promise. We compromised and made a 20‑minute version and I put that out. But ultimately the movie did take ‑‑ considering that the movie was more footage than I ever dealt with before and the previous ones were over a year of editing, the fact that I was able to edit
01:16:20
it in about nine months is crazy and an enormous amount of work. Well over a thousand something hours of editing and fixing and refining and finding things and dealing with it. There was surprisingly little editorial control executed upon me by Jeff who had written the
01:16:41
check for this and for paying me. Jeff's check paid ‑‑ I took a flat fee up front that paid all of my credit cards off and paid off my car. So I was debt free which is the biggest gift in this world. So I was debt free. That made a huge difference in my life. So for me the amount of work done was irrelevant because my life was so
01:17:03
much better. So he didn't ‑‑ there was one part that mentioned a specific number of how much something cost. They asked that go out because it could cause contract problems to be publicizing that. There was one sequence he asked to be taken down from two
01:17:22
minutes and 30 seconds and I returned with a sequence that was two minutes and 30 seconds. So that didn't work. And there was like a couple other shots where they were like does it have to be this shot or can it be this? And I said fine. Honestly for the fact that he completely paid for it, pretty much none. None. Zero. So that went really well.
01:17:43
It ended up being available here. I had nothing to do with how they put it together and I'm really amazed at what they came up with. So you can download the whole movie for free. The torrent is up now or will be up today at media.defcon.org. I wanted it on a USB stick. There was debates almost up to a few months ago of it being on Blu‑Ray.
01:18:05
And I'm like Blu‑Ray is not the way things happen now. It's USB stick. Make it a downloadable thing. And so they created this crazy deluxe lunch box hard drive thing without telling me and it's amazing. And they thought they were only ‑‑ I'll say this amount.
01:18:23
They thought they were only ever going to sell 50 and they sold 50 the first day on pre‑order. It was like yeah, people love this friggin' thing. So I'm really happy that it's gotten that beautiful amount of reception. Conclusions. It's hard. Doubly hard. This is them literally recording me asleep. Bastards. Segue turned out to be
01:18:46
a really good idea. Throw a segue into the mix. Alex will always get in a shot. In the corner there. Alex will always get in a shot. To be fair, Alex was just so excited to be here. He got a little swept up in the ‑‑
01:19:04
So what would happen is a couple times something would be going on and he would get right in it. He's so adorable but he's everywhere. And, you know, we didn't ever look at this thing as something we had to finish. Like oh, we're going to film people. Let's film
01:19:21
people and that's a movie. We're done here. We never sat down and said, okay, we're going to make it ‑‑ we'll film it and we'll be done with a movie. I wanted a movie that changed people's perceptions of DEF CON or changed their own love of DEF CON to something even stronger or encouraged people to understand how magical this thing is and how it happens.
01:19:42
I gave a year of my life to get that story out. That was what we tried to do. This is our crew getting their vows during the closing ceremonies for one moment and then running back into their places to keep filming. I think some of them were filming while we were on stage. They left it going and everything else. So that is the main part of our talk. Let's
01:20:04
swap ‑‑ so we're going to sneak this until they kick us out. All right. Oh, wow. Oh, wow. So I won't be able to do that. That's amazing. Do it.
01:20:24
They're all in ‑‑ nope, not that. All right. Wait, wait, wait. Here. This is exciting. Do this. You drive, I'll point. All right. Which one do you want me to start with?
01:20:42
Let's do this. It's like karaoke. It's exactly like karaoke. Click on extra bits. That one on the right. Let me show you an example of something that's wonderful and beautiful and I didn't use it. It would be top left, the first one. It's actually been really awesome. I have
01:21:03
met through my ‑‑ the people who have been going before me, I have met a lot of other really interesting, awesome people. I go to dinner with somebody and find out later that it was somebody extremely important that I had no idea. They just forgot to
01:21:25
mention or something. Sorry. I'm getting a little excited.
01:21:40
So there's somebody who ‑‑ what he's saying is I found a place where I belong and people respect and trust me and it's a beautiful moment and I didn't put it in the end because I had all these other beautiful moments and I had ‑‑ which beautiful moment is going to get screwed without turning this movie even longer? It happened all the time. Let's skip that one. Go to the third one. This is the kind of great
01:22:03
stuff ‑‑ we would always get those kind of helpful responses. Let's go with second to the bottom on the left. I have to hear every second footage and I would hear
01:22:28
every second footage. So as soon as we're done with this interview ‑‑ you're telling
01:22:41
Jason Scott that you need to take it down? Yeah, pretty much. You know, and you have to listen because you don't know what you're going to miss. That was the red crew. Yeah. So ‑‑ what's the ‑‑ yeah, upper right. Here's a case
01:23:07
of me taking some footage I didn't expect. I decided to do something with it. A very
01:23:33
special moment. Let's do the professional thing. Remember, he said some of the most emotional, meaningful things. It's dead to me.
01:23:47
He looked at his phone to see his notes on how he was going to do an answer. And we just ‑‑ destroy him. We have the same phone. Oh, this part here, I made the most friends when I was working the scavenger hunt.
01:24:04
This was ‑‑ I'm sorry. Sorry, I'm tweeting. Sorry, I'm tweeting. Are you tweeting that the deaf guy on the documentary crew is making fun of you? I'm tweeting ‑‑ for verbal abuse. Scandinavian hunt charged my leg.
01:24:32
Penis. Penis. Well, I was going to tell you some things that you may not realize. All right. Bring it out to me. Bring it out. Great. Are you ready? Let's fucking do this.
01:24:44
I am so ready. I watched the thing of this interview as a scrotum. I'm just going to scratch it gently. All right. So ‑‑ grab the left nut of this story.
01:25:00
Just tug. Gently. Let's not get hurt. Okay. So ‑‑ fucking balls. We're trying to be professionals here. We're fucking professionals. All right. All right. So what's great about that is if you see the movie, you're like that's what came
01:25:24
just before it before he talks about it. Beautiful stuff. There's a time lapse where somebody goes from Los Angeles to Las Vegas. It's the bottom one. Yeah, do it. So basically what happened was Windows media players decided it does not
01:25:43
love you or care about you. So what happened here was that basically I ended up with this beautiful time lapse and then I ended up ‑‑ I had this other one here where somebody sent me a beautiful time lapse of the sundown at the Rio. It's flickering because it just
01:26:01
completely made my shit flip out. It was like three gigs of J pegs. I tried to stuff them in the thing. I could have fixed it a little bit but after a while I said this was going to be like Friday night, now whatever and it was going to go down. It's this absolutely beautiful footage that I never got a chance to use. All right. Knock that one out. We'll switch over. This was the greatest thing to ever happen in the entire
01:26:24
world. Just click on it. Third one up on the right. Here's the deal. No, not that one. Yeah, just pull this one up. Boom. So here's the deal with this guy. In the original footage they're shooting and you can hear one of the other team members go get that guy. Which guy? That guy. That guy. And they turn and there's this guy.
01:26:44
All right. Now, I don't know this guy. I don't know him. We never know who he was. Bless this man. So we're shooting party footage and we're shooting this guy. All right. Now, I mean, this guy, he's a little bit, you know, what's the word? He's a little high weight, non-ratio bound. He's dancing and he's listening to
01:27:10
this music and he is dancing and he doesn't stop. And now most people who
01:27:21
would be in this situation would go, okay, I got my shit done. And then like walk, or calm down, leave. You can see the other, there he's, look at him. He's a little wiry stick. And he's like, yeah, yeah, yeah. Right? And then this happened. And he is back at the crawler. You know, we're
01:27:48
nowhere near done. This guy just keeps on going. So whenever we would have lagging energy on any of the teams, it'd be like two in the morning and be like, I don't know if we can put your fucking hands up. And
01:28:01
we'd like run back into the crowd and do more filming. And just for the rest of the whole weekend, put your fucking hands up. So there's like one second or two seconds of him dancing in the Saturday night sequence as a tribute to him. So we have no idea who this guy is. I mean, someday, I'm sure we'll hear
01:28:20
from him, but he is incredible. And I know he's probably at his desk right now, looking at this thing in December, going by on the video. Let's do underwater just because it has a great line from Rachel. We were testing the underwater ability.
01:28:42
We mentioned that these cameras, the little play sports, we were supposedly able to go underwater, but we weren't
01:29:17
able to. So guess what? The play sports are actually pretty
01:29:34
awesome. So we actually were able to put a few in there. Did we fix the crash footage? Good. This is a crash.
01:29:56
Yeah, I indicated this was some sort of painting dance.
01:30:03
It was late. That's one of, yeah, like, you know, we
01:30:21
definitely found time to pop out. Why don't we go up out. Let's go into one of the bonus things. Yeah, and then, yeah, bonus. These are bonus features. This is all on the USB sticks. So all these pieces here. The ones you just saw were not. Yeah, the other ones there, those are ones that are not in the thing. Let me see if there's one that really, like, kind of captures
01:30:41
the ‑‑ like, a lot of these are meant to be, you know, varying states of informative and I have, like, very long things on CDC and things on the hacking for charity, you know, things that were important stories. And then there's ‑‑ yeah, I know, you're like poor in Santa, but let's make him the last thing. Down one
01:31:01
and to the right. There you go. Then there's this. Then there's this story saved for all time. All right. So we had went to the New York, New York, to that terrible Asian restaurant they have in there, that terrible Chinese joint and I had Mongolian beef and we went back and threw the party
01:31:23
in the room. And so I got a little bit too drunk, shall we say. And at the end of the night, as everybody was ‑‑ you know, as the party rolled down, I ended up in my bathroom, in my bedroom, and I just
01:31:41
lost all of it. Just like ‑‑ it looked like somebody grabbed a big old plate of Mongolian beef and just threw it around the entire bathroom and it was awful. While it looked like it was just normal Mongolian beef, of course it didn't smell that way. So, you know, we wake up the next morning and I'm intending to clean it up,
01:32:05
but everyone was like, yeah, let's go get breakfast, we'll clean it up after. So we're rolling back to the hotel and we're walking up to the hotel room and this poor maid ‑‑ oh, the look on her face was awful. She walks out of the room and she looks at us because she
01:32:22
knows we have the hotel room and she's like someone in there go black. It's so bad I go black. Like we made the maid at DEF CON vomit. I feel so bad for this poor lady. I think we handed her $60 or something as a tip. I just apologized. And that is ‑‑ that's
01:32:40
the Mongolian beef story right there in a nutshell. Oh, yes. And I came up to offer you water because you've been thrown out. Oh, yeah. And he's sitting naked. Yes. I'm like, do you want some water? Fuck you. Fuck me. Oh, yeah, the AC had frozen and the smell
01:33:03
was awful and I was just sweating bullets, you know, naked, laying in a pile of my own vomit on the floor. Yeah, that's a high moment. You were going to let me walk out of here
01:33:21
without that golden footage. You were just going to be like I had a good time and I'd see some parties. DEF CON was good. For some reason I stopped going. Congratulations. That's what it is, Jeff. I support you. Very good. Well, it's not the only thing that happened
01:33:41
at DEF CON. What I love about that is at that moment there's like 12 other people in the room because I'm going through this whole crowd and they're all trying to stay as quiet as possible while he tells this disgusting story and then they just lose it as soon as I start talking. Let's do the upper right one, top quality production. You're like you need a blooper reel,
01:34:02
right? All right, blooper reel. One of the things that I don't know. Quality production. I look forward to seeing this in the film. Yeah, seeing that exact thing in the film. Yeah, but are there principles?
01:34:21
Ah, Jesus balls. I told you, it's the quiet one. It's the quiet one. Watch. It's the Metrolink. It's the quiet one that always kills me. Oh, that's the Chicago train. Have fun in Chicago Wednesday.
01:34:43
Not that I know anything about the training during the night here. Back to work.
01:35:01
Not creepy at all. Good shot here of the room and you know us putting things together and doing stuff and then you know what this needs? This needs a close up.
01:35:28
It's also Blew out the transformer.
01:35:41
But everything's on batteries. So it's still recording. I'm a nice guy but sometimes I'm not a nice guy. And I'm just like shut up. That's for us giggling in the darkness. I just didn't want you to break a cord.
01:36:02
Awesome. You know what the best part is? I have that completely on camera. Holy balls. I use balls a lot. Do we, okay, so Porn Santa The Epic Story The Epic Story of Porn Santa So his solution was to go out
01:38:09
and make events like this
01:38:33
and there's to have this little piece of
01:38:43
USB sticks and points around the world.
01:39:04
Look at this. They're negotiating. Free porn. Take it you jerk. Just fucking take it. Children to deliver to this year.
01:39:23
Yeah, sure. I got to go hit my contest. I hope that was good for you. The Epic Journey of Porn Santa People are now coming in.
01:39:41
I think it's respectful to clear the room for the next crowd. So again, thanks so much. If anyone has a burning, burning question I'll answer it right now if there is. Anyone have a burning question? The screening is tonight at 8 o'clock in track 3 I believe.
01:40:01
It's the track that Hacker Jeopardy is not happening in but it's at 8 o'clock tonight and we'll screen the whole movie and even answer some questions afterwards and maybe play a little other bonus footage if people are still up for it and have a good time. Was it worth it? Of course it was worth it. It was a wonderful time. Rachel and I had a lot of fights
01:40:21
over many things and a lot of screaming about getting this and that done but I think at the end the product speaks for itself and I think that we have a really special piece of work and without Kyle and Drew and Alex and Rick Just come up and wave. You can do it. You're smart people.
01:40:41
Get on the stage or we won't be able to see you. So here's our gang. Lovely Alex. And so here's our gang who are here and Drew was here yesterday for the premiere but he had to go back to Hawaii where he lives now and Rick is busy in Florida.
01:41:00
Without these people without Alex and Rick and Drew and Kyle and everyone else. We wouldn't have this movie. No way. Do you want to say anything, Rachel? Nope. Well thank you so much for sitting through.
Empfehlungen
Serie mit 122 Medien
Serie mit 322 Medien
Serie mit 109 Medien
Serie mit 84 Medien
Serie mit 112 Medien
Serie mit 335 Medien
Serie mit 93 Medien
Serie mit 85 Medien